Chapter III: Part 3

to engrave on copper pennies rolled thin. In this way he made his first plate, which was a head of Paul Jones; and his first impression from it was made in red oil paint by a rude kind of a press of his own contrivance. With tools made by a blacksmith, he went on to cut little ships and houses on type metal for the newspapers. Being in some way led to take an interest in certain medical works, he copied many of the plates, and his father, feeling that this was a true sign of his fitness for the profession of medicine, and not discerning the talent for engraving, placed him with Dr. Joseph Young, as a student of medicine.

This step was taken with great reluctance by the youth; but he found time for both the cares of his new study, and for the pleasures of his old pastime. Various successes encouraged him, and in 1793 he cut a tobacco-stamp on wood, which appears to have been his first use of that material. Soon after this, he obtained a copy of Bewick’s “Quadrupeds,” and with the cuts found therein he was delighted. They had a strong influence upon his later work, and he has been well called the “American Bewick,” for his small wood-cuts closely resemble those of the English master in design, and his prominence in this country was equal to Bewick’s in England.

A life of Dr. Anderson has lately (1893) been issued in New York; but, to the disappointment of book-plate collectors, not a word is said of his making book-plates.

Of the seven plates by Anderson known at present, four are on wood, and three are on copper.

Only one of those on wood is signed. The _Lot Tripp_ and _Josh. Russell_ plates are simple labels, and the _Typographical Society of New York_ and the _John Pintard, LL.D._, which is signed, are pictorial. In the former, the emblems and implements of the printing trade are prominent, and in the _Pintard_, which is a fine example

of Anderson’s best work on wood, the shield of arms is shown with a landscape for background.

The plates on copper are the _Anderson_, which is a Chippendale, the _Apprentices’ Library_, and the _Columbia College_, which are allegorical.

All the above will be found described in the List.

There is a plate of the _Apprentices’ Library Company of Philadelphia_ which strongly resembles the wood-cut work of Anderson, but as it is not signed it is not safely attributed to him. In the plate of _A. Griggs_ of Philadelphia, an even more marked resemblance to his little designs on wood is seen, but this, too, is not signed.

* * * * *

ANNIN AND SMITH. This firm consisted of _W. B. Annin_ and _George C. Smith_, and they were established in Boston from 1820 to 1837. Annin died in 1839, in Boston, and Smith, who lived to quite an advanced age, died in 1878. They engraved a number of plates for the “Token,” and for other annuals so popular sixty years ago.

The plates of _Richard Taylor Auchmuty_, _A. L. Peirson_, _William H. Prescott_, _John Lowell, Jr._, and an armorial plate for the _Boylston Medical Library_ are signed by them, and will be found described in the List.

* * * * *

ABEL BOWEN, whose name appears on one of the plates of _Harvard College_, was the first wood-engraver in Boston. He was born in New York state in 1790, and he took up engraving before he was of age. In 1812 he was a printer in Boston, probably attracted thither by his uncle, who was the proprietor of the Columbian

Museum. Nathaniel Dearborn claims to be the first engraver on wood in Boston, but the honor is usually accorded to Bowen. He issued, in 1816, the “Naval Monument,” and in 1817 was associated with Dearborn in engraving for Shaw’s “History of Boston.” In 1834 Bowen, with others, founded “The Boston Bewick Company,” which was an association of engravers. In the following year they issued a map of Boston, and undertook the publishing of the “American Magazine.” They were burned out in this same year. Bowen died in 1850.

* * * * *

JOHN BOYD, who engraved the plate of _Samuel Chase_, which is taken to be the plate of the signer of the Declaration, was a Philadelphia engraver. This is the only specimen of his work on book-plates which we have, and it is a very pretty Chippendale design, delicately engraved.

In Dunlap, a J. Boyd is simply mentioned, who was engraving in Philadelphia in 1812. This, if the engraver of the Chase plate, would make him rather young at the time of doing it, and it is very good work, and not the experiment of a novice. Whether this is the same engraver, I do not know.

* * * * *

JOSEPH CALLENDER was born in Boston, May 6, 1751. Very little is known about him, but he is reported to have acquired the plates of Peter Pelham, who was presumably the first to engrave on copper in America, and to have destroyed them. Callender made most of the dies for the second Massachusetts Mint, at a cost of £1 4_s._ each. This was considered an exorbitant price by the superintendent, who made a contract with a Newburyport artisan, Jacob Perkins. Callender received £48 12_s._ for making thirty-nine dies, and repairing three others, while Perkins received but £3 18_s._ 10_d._ for his work. Callender died in Boston, Nov. 10, 1821, and was buried in the Granary Burying Ground.

The only Chippendale plate by Callender is a copy of the _Atkinson_ plate by Hurd, and is for a member of the same family. As compared with its model, this plate shows very little difference, it is so close a copy, but the motto ribbon which is added is more graceful than those of Hurd usually were, the heraldic drawing is quite as good, and the lettering of the name is better. Callender, of course, would not have begun to engrave much before Hurd’s death; indeed, the preponderance of the Ribbon and Wreath style in his designs goes to show that his work dated towards the close of the century.

His plates in this style are very light and graceful, with no overloading; and a faithful use of the usual features of the style is apparent.

In the _Russell_ plate he was again a copyist, using for his model the _Joseph Barrell_ plate. The plates for the _American Academy of Arts and Sciences_, and for the _Massachusetts Medical Society_ are practically alike; the curtain, and the

ribbon and festooning are very similar, while the view within the oval frame is, of course, adapted to the use of the books of the respective societies. Callender would seem by these signs to have been a lazy engraver, or to have considered his designs so perfect as to call for no further effort.

A LIST OF BOOK-PLATES SIGNED BY CALLENDER.

---- Andrews Pictorial.
William King Atkinson Chippendale.
Jonathan Baldwin
Luke Baldwin
Boylston Medical Library Plain armorial.
John Callender Pictorial.
Thomas Cary Ribbon and Wreath.
William Erving Ribbon and Wreath.
John Francis Plain armorial.
Hasty Pudding Library Pictorial.
Massachusetts Medical Society Allegorical.
Thomas Russell Allegorical.
Daniel Sargent, Jr. Ribbon and Wreath.
John Sullivan Ribbon and Wreath.
James Swan Plain armorial.
Dudley Atkins Tyng Ribbon and Wreath.
Solomon Vose Ribbon and Wreath.

A LIST OF PLATES ATTRIBUTED TO CALLENDER, ALTHOUGH NOT SIGNED.

American Academy of Arts and Sciences Allegorical.
William Emerson Ribbon and Wreath.
Gray Ribbon and Wreath.
Dr. John Jeffries Plain armorial.
Porcellain Library Allegorical.

CEPHAS G. CHILDS, who engraved the plate of _Henry D. Gilpin_, was born in Pennsylvania, in 1793. In the years 1827 to 1830, he published a set of views of the city of Philadelphia and its vicinity (Baker).

HENRY DAWKINS was an engraver of but few original ideas, if we may judge him rightly by his book-plate work. In this he was very largely a copyist. Working altogether in the Chippendale style, his designs for the most part are variations of one general plan, which seems to have been borrowed from an English-made plate. In his plates we see “Chippendalism run wild.” Here are introduced the love-sick swains who play upon the flute; the dandy shepherds in stiff clothes of the most fashionable cut, flowing curls, and large felt hats; the flirting young damsels in very low-cut bodices, who play at being shepherdesses for the sake of following the above-mentioned gentle keeper of sheep. Here are the music-loving Cupids, the scantily clad females who are attended by the Cupids, and who are far from home among the trees of the wood. In the _James Duane_ plate we find a fountain is fixed to the side of the frame, and is spouting water from the mouth of a man’s head.

But the plates of _Samuel Jones_, _Samuel Stringer_, and _Peter W. Yates_ are proof that Dawkins could confine himself to the legitimate features of good Chippendale plates. In these no outside objects are introduced, and the design is good.

We do not know much about Dawkins. Dunlap says he was probably from England, and that he was first noticed in New York. Originally he was an ornamenter of buttons and other small bits of metal, but in America he worked at anything that offered, “suiting himself to the poverty of the arts at the time.” Dunlap dates him about 1774, evidently on the strength of the word of Dr. Anderson, who remembered to have seen “shop-bills and coats-of-arms for books,” done by him previous to 1775. However, in 1761, he engraved music for a book of Psalm Tunes published in that year in Philadelphia. His earliest dated book-plate is that of _John Burnet_ (1754). He was skilful enough to make counterfeit Continental currency, but not to avoid arrest; and in 1776 we find him suffering for this misdeed. Some time later, he forwarded the following unique petition to the Committee of Safety:--

“MAY IT PLEASE YOUR HONOURS,--The subscriber humbly relying on the
known goodness and humanity of this honourable house, begs leave to
lay his complaint before them, which is briefly as follows. That
your petitioner was about six months past taken upon Long Island
for a trespass which this house is thoroughly acquainted as by
Israel Youngs he was led away to perform an action of which he has
sincerely repented and your petitioner was torn away from an only
son who was left among strangers without any support, or protection
during the inclemency of the approaching winter, as his unhappy
father hath since the first day he was taken had but one shirt and
one pair of stockings to shift himself, and hath been affected
during his imprisonment at White Plains with that worst of enemies
hunger, and a nauseous stench of a small room where some twenty
persons were confined together which hath introduced a sickness on
your distressed subscriber which with the fatigue of travelling
hath reduced your unhappy petitioner to a state of despondency--he
therefore being weary of such a miserable life as his misconduct
has thrown him into begs for a termination by death to be inflicted
upon him in what manner the honourable House may see fit. The kind
compliance of this honourable House will ever lay an obligation on
your distressed humble servent

HENRY DAWKINS.”

We do not know in what manner the honorable house received this extraordinary petition; but, as book-plates are in existence in his later style, probably it was not granted. Dawkins used three distinct varieties of the Chippendale style. The plates of _Benjamin Kissam_, the _Ludlow_ and _Roome_ plates, the _Whitehead Hicks_ and the _James Duane_ are examples of the debased

Chippendale. He had also a style which is illustrated by the _Hopkinson_, _Samuels_, and _Tomlinson_ plates, which is closely allied to the style of the _Bushrod Washington_. The same hissing dragon, the same tilt to the whole design, and the similarity in detail and execution have led to the question of his being the engraver of the latter plate. It is not a question easy to decide, and collectors are divided over the question. This style of plate came originally from England, we can be sure; and as Dawkins is seen to be a copyist, it is quite as likely that he copied from the _Bushrod Washington_ plate, as that he designed it. He always used a squarer copper than the Washington plate is engraved upon; but this has evidences of having been cut down after engraving. The present writer does not think the plate can be safely attributed to Dawkins. The _Child_ and _Jones_ plates exemplify the third style.

The debased Chippendale plates which Dawkins made were apparently copied from an English example he had seen.

A LIST OF BOOK-PLATES SIGNED BY DAWKINS.

Gerard Bancker Chippendale.
John Burnet, 1754 Chippendale.
Francis Child Chippendale.
James Duane Chippendale.
Francis Hopkinson,}
Joseph Hopkinson, } one copper Chippendale.
Whitehead Hicks Chippendale.
Archibald Hunter
Samuel Jones Chippendale.
Benjamin Kissam Chippendale.
John Cooke Ludlow Chippendale.
Gab. Willm. Ludlow Chippendale.
Jacob Roome Chippendale.
John L. C. Roome Chippendale.
James Samuels Chippendale.
Samuel Stringer Chippendale.
William Sword Chippendale.
John Tomlinson Chippendale.
Unidentified Chippendale.
Josias Short Vavasour Chippendale.
W ---- Whitebread Chippendale.
Peter W. Yates Chippendale.

The plates of _Cornelius Low_ and _Lambert Moore_, although not signed, are attributed to Dawkins.

* * * * *

NATHANIEL DEARBORN was born in 1786, and was the son of Benjamin Dearborn, a man of attainments in science. Nathaniel was one of the first wood-engravers in Boston, and was associated with Abel Bowen for a time.

The only armorial book-plate signed by Dearborn is the _Charles Beck_, which is a peculiar design, following no particular style, but making a pretty plate.

A second plate signed by Dearborn is the simple engraved verse for _Isaac Child_.

* * * * *

AMOS DOOLITTLE, who was born in 1754, was one of the first engravers of historical scenes in America. In Barber’s “History and Antiquities of New Haven,” published in 1831, is an advertisement of “four different views of the Battle of Lexington, Concord, etc. on the 19 April 1775.” A list of the plates follows, and it is remarked that they were “neatly engraved on copper from original paintings taken on the spot.” In a note which follows, it is further remarked that the pictures were first drawn by Mr. Earl, who was a portrait painter, and who with Mr. Doolittle was a member of the Governor’s Guard which went to Cambridge and the scene of action under the command of Arnold.

As a maker of book-plates, Doolittle was fond of the allegorical style. He made two plates for the _Societies of Yale College_, and one for the village library of _Wethersfield_. The latter is an ornamental label only, but the former are quite elaborate examples of the allegorical. The plates of _Benjamin S. Brooks_, in the Ribbon and Wreath style, and _Charles H. Wetmore_, which is a copy of one of Maverick’s favorite designs, complete the number of his signed examples. The _Guilford Library_ and _George Goodwin_ plates, which have some features in common with the _Wethersfield Library_, are confidently attributed to him.

Benjamin S. Brooks Ribbon and Wreath.
Brothers in Unity Allegorical.
Linonian Library Allegorical.
Social Library, Wethersfield Literary.
Charles H. Wetmore Ribbon and Wreath.

* * * * *

GIDEON FAIRMAN, whose signature is on one of the plates of _Henry McMurtrie_ and one of the _Linonian Society of Yale College_, was born in Connecticut in 1774. He showed an early fondness for engraving, and made rude attempts which showed undoubted talent. In 1810, having made himself a master of his art, he went into partnership with Murray, Draper, and others, in Philadelphia. He made considerable money, and went over to England with Jacob Perkins, where, with Charles Heath for a third partner, they were successful but for a short time, the extravagance of Murray proving their ruin.

* * * * *

JOHN MASON FURNASS was the nephew of Hurd, to whom the latter left his engraving tools by will, as the young man showed so much ability in the art practised by his widely known uncle.

He was also a painter of portraits, and he had a studio in Boston, which was also used by Trumbull.

The only plate signed by this engraver, which the present writer has seen, is the _Eli Forbes_. This plate shows but few traces of the influence of Hurd. It is a Chippendale design, but

is not in either of the characteristic modes of Hurd. It is an ambitious plate, and was meant to be very fine, evidently. It is full of flourishes, and the little spiral flourish at the lower right-hand side is wholly out of place; the robin picking rose leaves at the side is an innovation. The scrolls under the name are somewhat in the manner of Hurd. The heraldic drawing is poor, and the bunch of arrows between the shield and the crest must be in allusion to the occupation of the owner, who was a missionary to the Indians.

There is said to be a plate by Furnass owned in Boston, by the name of _Foster_, but no definite knowledge of it has been obtained.

* * * * *

E. GALLAUDET, who signed the plate for the _New York Society Library_ and the plate of _John Chambers_, was one Elisha Gallaudet, who practised his art in New York City towards the end of the last century.

EDWARD GALLAUDET, a relative of the above, was superior to him as an engraver, and the _Gallaudet_ plate mentioned in the List is by him. He was of the present century.

* * * * *

ABRAHAM GODWIN was born in New Jersey in 1763. He was intended for the profession of the law, and was placed in the office of his brother, at Fishkill, in New York state. Both men joined the army, however; and when Abraham returned to his home, it was to take up the art of engraving, towards which he had had an inclination from boyhood, when he made his first attempts on the silver plate of his friends, with a graver made by a blacksmith.

The only example of his book-plate work is a plate fully described under the heading, “Unidentified,” in the List. Most unfortunately, the only example known has the family name torn out. The first name is _John_. The plate is rather rudely engraved, but is quite ambitious, showing the interior of a large room, which might be either a school-room or a library.

* * * * *

S. HARRIS, who engraved the pictorial plates of _Henry Andrews_ and the anonymous _Williams_, was a New England engraver, who was in Boston about 1798.

CHARLES P. HARRISON, who signed the plain armorial book-plates of _William Betts_ and _David Paul Brown_, was a son of William Harrison, an English engraver, who came to New York in 1794, and was for a time an instructor of Peter Maverick the second.

* * * * *

SAMUEL HILL was a copper-plate engraver in Boston, about 1790, and his work consisted mostly of portraits and book work.

The following are examples of his work:--

Willm. P. & L. Blake’s
Circulating Library
at the Boston Book Store Ornamented label.
Charles Pierpont Ribbon and Wreath.
William Winthrop Ribbon and Wreath.

Also the plate of _Saml. Hill_, which is of a literary flavor, is probably the engraver’s own plate.

* * * * *

S. S. JOCELYN, of New Haven, who made a very handsome plate for the _Brothers in Unity_ of Yale College, became an engraver of vignettes for bank-notes.

* * * * *

THOMAS JOHNSON was born in Boston in 1708. He was buried in King’s Chapel Burying-ground, May 8, 1767. He engraved Psalm Tune plates

for the Tate and Brady edition of 1760, and did some commendable work as a herald painter. In the inventory of his estate, fifteen copper plates are appraised at 40_s._

Only one specimen of his book-plate work is authenticated, and that is the _Joseph Tyler_, which is signed in full,--_Johnson_.

* * * * *

THOMAS JOHNSTON signs the very beautiful Jacobean plate of _William P. Smith, A.M._, and the rougher Chippendale of _Samuel Willis_. Whether this is the same engraver as the above is uncertain; the difference in the spelling of the name would not disprove the claim, as in those days such differences were frequent. The _Willis_ plate bears strong resemblance to the work and designs of Hurd. If this is the same engraver as the above, these two plates are likely to be the earliest signed plates by an American, as Johnson was born some twenty years before Hurd. The _Willis_ plate is quite inferior to the _Smith_, which latter is a striking example of the Jacobean style.

* * * * *

FRANCIS KEARNEY, who signs the plate of _Henry McMurtrie_ and _Hector Coffin_, was born in 1780. He was a pupil of Peter R. Maverick, who received two hundred and fifty dollars for instructing him for three years. The advantage was all with Maverick. Soon after the opening of the century, he was engaged with Anderson, the younger Maverick, Boyd, and others, in engraving plates for a quarto Bible published by Mr. Collins, of New York.

In 1810 he removed to Philadelphia, as that city was far ahead of New York in the publishing of books, etc. He was in that city for over twenty years. His greatest work is the engraving of Leonardo da Vinci’s picture of the “Last Supper.”

* * * * *

PETER RUSHTON MAVERICK was born in England, April 11, 1755, and came to America about 1774. He was originally a silversmith, and came of a family whose members were for several generations well known as engravers, and who made the art their occupation. He was an energetic worker, getting most of his practical knowledge by his own endeavors. He was the teacher of William Dunlap and of Francis Kearney, as well as of his own son, who ultimately became a more proficient engraver than his father, and, who after instructing A. B. Durand for five years, took him into partnership.

Peter R. Maverick died in New York, about 1807, and his son Peter whose partnership with Durand resulted disastrously, died in 1831.

As a designer and engraver of book-plates, Maverick was the most prolific of all the early engravers. It is presumed that all the plates signed either P. R. Maverick, or simply Maverick, were by the same hand, as a large collection of

_Weigh well each thought, each sentence freely scan, In Reason’s balance try the works of man: Be bias’d not by those who praise or blame. Nor, Servile, Yield opinion to a Name._ proofs from his plates which furnishes examples of both ways of signing is now in the possession of the New York Historical Society, and the librarian informs me that all of the plates in that collection were done in 1789 by the elder Maverick. This collection consists of sixty-five plates, of which thirty-eight different ones are signed by Maverick. There are also others which are undoubtedly his work, although not signed, and there are examples by Dawkins, Hutt, and Child. Quite a number of the plates are duplicated, too. This very interesting collection of proofs, kept by Maverick himself, and sewed together roughly, was in the library of his friend, John Allan. By far the greater part of Maverick’s plates are of the Ribbon and Wreath style, but he made a few Jacobeans, a few Chippendales, and one or two pictorial and allegorical designs. He used the same features over and over in his plates, and seems to have been a rapid worker. The plates in the following list marked * are by the younger Maverick.

A LIST OF BOOK-PLATES SIGNED BY MAVERICK.

Anonymous Plain armorial.
Anonymous (Jacob Brown) Pictorial.
Flamen Ball Ribbon and Wreath.
Abraham Bancker Pictorial.
Absalom Blackley Ribbon and Wreath.
Philip Brasher Ribbon and Wreath.
*Epaphroditus Champion, Jr. Plain armorial.
De Witt Clinton Ribbon and Wreath.
William Cock Ribbon and Wreath.
James S. Cutting Ribbon and Wreath.
William Cutting Ribbon and Wreath.
John Cuyler Ribbon and Wreath.
Frederick De Peyster Plain armorial.
Barnard Elliott Plain armorial.
Erasmus Hall Library Allegorical.
Ebenezer Foot Ribbon and Wreath.

Andrew J. Fraunces Plain armorial.
James Gibs
James Giles Military.
*Elias Hicks Plain armorial.
Philip L. Hoffmann Ribbon and Wreath.
Horanian Society Library Allegorical.
William J. Hunter Ribbon and Wreath.
John I. Johnson Pictorial.
John Johnston Ribbon and Wreath.
Thomas Johnston Ribbon and Wreath.
Benjamin S. Judah Ribbon and Wreath.
John Keese Ribbon and Wreath.
John Keese Ornamental label.
Rufus King Ribbon and Wreath.
Isaac L. Kip Ribbon and Wreath.
Edward Livingston Landscape.
Maturin Livingston Ribbon and Wreath.
William Smith Livingston Ribbon and Wreath.
Hugh McLean Ribbon and Wreath.
Peter Masterton Ribbon and Wreath.
---- Maxwell Ribbon and Wreath.
*Nathaniel F. Moore Ribbon and Wreath.
New York Society Library Allegorical.
New York Society Library Allegorical.
*Lewis Morris Ogden Ribbon and Wreath.
Francis Panton, Jr. Landscape.
W. Paulding
William L. Pierce Ribbon and Wreath.
John Pintard Ribbon and Wreath.
William Popham Ribbon and Wreath.
Halcott B. Pride Ribbon and Wreath.
Samuel Provoost Ribbon and Wreath.
William Seton Ribbon and Wreath.
John Sitgreaves Ribbon and Wreath.
James Scott Smith Ribbon and Wreath.
Thomas Smith, Jr. Ribbon and Wreath.
Thomas J. Smith
William Smith Ribbon and Wreath.
William Taylor Ribbon and Wreath.
*James Thompson Plain armorial.
Thomas Tillotson Ribbon and Wreath.
P. I. Van Berkel Plain armorial.
K. K. Van Rensselaer Ribbon and Wreath.
Prosper Wetmore Ribbon and Wreath.
Polydore B. Wisner Ribbon and Wreath.

A LIST OF PLATES ATTRIBUTED TO MAVERICK, ALTHOUGH NOT SIGNED.

James Agnew, Esq. Chippendale.
Boudinet Ribbon and Wreath.
Charles Bridgen Plain armorial.
Willm. Duer Ribbon and Wreath.
John Goelet Jacobean.
Herbert Chippendale.
Morgan Lewis, Esq. Ribbon and Wreath.
Rob’t R. Livingston, Esq., of Cleremont Ribbon and Wreath.
Walter Livingston Chippendale.
Jonathan Meredith, Jr. Ribbon and Wreath.
Joseph Murray Chippendale.
William Pasley Ribbon and Wreath.
Saml. Provoost. Coll. Pet. Cant. Chippendale.
William Stephens Jacobean.
John C. Ten Broeck Ribbon and Wreath.
Stephen Van Rensselaer Plain armorial.

* * * * *

OLIVER PELTON, who engraved a plate for the _Brothers in Unity_, at Yale College, was born in Portland, Conn., in 1799, and learned his trade with Abner Read, a bank-note engraver, of Hartford. He was an assiduous worker, and was taken into partnership after two years’ work, with Mr. Read and one Samuel Stiles. Samuel G. Goodrich (Peter Parley) soon induced him to go to Boston with him, to engage in the engraving of plates for his works. This enterprise was successful, and in 1863 Pelton formed a partnership with William D. Terry, which was the foundation of the New England Bank-Note Company of Boston. The plate mentioned is the only example of his work on book-plates.

R. RAWDON, who signs the plate of _William L. Stone_, which is a very handsome steel-plate design, was born in Tolland, Conn., and was associated with his brother in Albany. The brother subsequently moved to New York.

PAUL REVERE, the Revolutionary patriot whose “midnight ride” is known the world over, was born in Boston, January 1, 1735, and died there on the 10th of May, 1818, after a life of great usefulness, leaving a name never to be forgotten.

He came of a Huguenot family, who spelled the name Rivoire originally.

He was self-instructed in the art of engraving on copper, although brought up by his father to the business of a goldsmith. He went on the Crown Point expedition, 1756, and after his return, married, and settled down to the business he had already learned. He was naturally fond of mechanics, and made himself master of its general principles. One of his earliest attempts on copper was the portrait of his friend, Dr. Mayhew. He also engraved several caricatures which were popular, and some historical pictures which are valuable now to the collector.

Not many book-plates have come down to us by this celebrated patriot, and the following list comprises all that are signed.

Gardiner Chandler Chippendale.
David Greene Chippendale.
Epes Sargent Chippendale.
William Wetmore Ribbon and Wreath.

Revere’s plates do not have the compact appearance of Hurd’s, and are not so well designed or so well engraved as the latter’s. Presumably this branch of work was not very profitable to him, or very much cultivated.

The accompanying design was undoubtedly a book-plate, and beyond question is the work of Revere. It is a very rare plate.

* * * * *

WILLIAM ROLLINSON was born in England, in the year 1760. He was in youth brought up to the trade of ornamenting buttons; and, upon coming to New York, made the gilt buttons which decorated the coat worn by Washington at his inauguration as President. He did this without remuneration, so thoroughly sympathizing with the country of his adoption as to feel the honor of this service for Washington a full compensation. He was, through the friendship of Messrs. Elias Hicks and John C. Ludlow, recommended to the publishers of Brown’s Family Bible, for which he made several plates. Previous to this, he found work in the shops of different silversmiths, and had taught himself the art of engraving on copper. At the beginning of the century, Archibald Robertson painted a portrait of Alexander Hamilton, which Rollinson boldly undertook to make a large engraving from. He did not understand all the processes of engraving, and invented such as he was compelled to use, as he went on. The duel in which Hamilton lost his life occurred before the portrait was fully engraved. Indeed, it had been undertaken more as an experiment than with the idea of sale; but the friends of the dead statesman urged him to complete it, which he did, and the print found a good sale. Later, Rollinson invented a machine for ruling waved lines, which was of vast importance in the manufacture of bank-notes.

As an engraver of book-plates, he adopted the Ribbon and Wreath style naturally, as it was the style in vogue when he took up the work. He made one or two plain armorials, and for the _New York College of Pharmacy_ one of more ambitious design. His plates, all neat in design, are clear, skilful engraving. His work and that of Callender, in the same style, resemble each other.

The following plates are signed by Rollinson:--

Richard Harrison Plain armorial.
Elias Hicks Ribbon and Wreath.
George Ludlow Ribbon and Wreath.
W. T. McCoun Plain armorial.
Horatio Shepheard Moat Ribbon and Wreath.
New York College of Pharmacy Ornamented label.
James Adam Smith Plain armorial.
Thomas N. Stanforth Ribbon and Wreath.
Teachers’ Union, St. George’s Church Engraved label.
John W. Watkins, A.M. Ribbon and Wreath.
Charles Wilkes Plain armorial.
Azarias Williams Ribbon and Wreath.

* * * * *

J. SMITHERS, an Englishman, originally a gun-engraver employed in the Tower of London, came to Philadelphia in the year 1773.

He had a good name as a man and as an engraver, and made the blocks for the Continental money. A large plan of the city of Philadelphia on three plates, which was his work, was subsequently purchased, when copper was scarce, for thirty dollars, and cut up into smaller pieces. Among his pupils was Trenchard, of whose work we have a few examples.

The following plates are signed by Smithers:--

John Day Plain armorial.
Fenwick Chippendale.
Henry Hale Graham Plain armorial.
John Magill Chippendale.
Henry McMurtrie Pictorial.

He sometimes signed with the final _s_, and sometimes without it. His book-plates are not especially brilliant in any way, but are good, and in the pure style. His finest attempt is the landscape plate for _Dr. McMurtrie_ of Philadelphia.

* * * * *

T. SPARROW was an obscure engraver on wood, who worked at his trade in Annapolis from 1765 to about 1780, and who did considerable work for “Ann Catherine Green & Son, Printers,” of that town, on title-pages, tail-pieces, etc. He engraved on copper the title-page for the “Deputy Commissary’s Guide of Maryland,” published by the above firm in 1774, and which is a creditable piece of work. All the book-plates known at present are on wood, and they are but two in number: the _Richard Sprigg_ and the _Gabriel Duvall_, both of whom were men of prominence in the colonial times, in Maryland.

* * * * *

WILLIAM D. TERRY, who was mentioned as the founder, with Pelton, of the Bank-Note Company, in Boston, engraved a plate for the _Redwood Library_, of Newport. This is a large representation of the library, and is a fine piece of work.

* * * * *

JAMES THACKARA was a partner of John Vallance, in the engraving business, and they were together for a good many years. Thackara was inferior to his partner as an engraver, according to Dunlap, and was for a long time the keeper of the Pennsylvania Academy of Fine Arts.

We know but one example of his book-plate work, and that is the _Lenthall_ plate, which is a large and very interesting example of the Ribbon and Wreath style. It is an excellent piece of engraving, full of style, and graceful in design.

* * * * *

JAMES TRENCHARD was born in Cumberland County, New Jersey, about 1746. He was a pupil of Smithers, and engraved in Philadelphia,

about 1785. Among his pupils were Thackara, Vallance, and his nephew, Edward Trenchard, who became an officer in the United States Navy, and served in the War of 1812.

Trenchard was one of the owners of the “Columbian Magazine,” published in Philadelphia from 1786 to 1792, and he engraved many plates for its pages.

One signed book-plate of his is known,--the _Bloomfield_. This is a Chippendale plate of no striking features. The _Luther Martin_ plate is so similar to this as to leave hardly any doubt that it too was by Trenchard.

* * * * *

JAMES TURNER is another of the early American artists of whom very little is known now. He was at one time in Boston, but later removed to Philadelphia. He did some portrait and some music work. Of his book-plate work we have but three signed specimens. By far the most interesting and valuable of these is the extremely rare plate of _John Franklin of Boston in New England_. This is very fully described in the List of Early American Book-plates. The other plates are the _Sir John St. Clair_, and the plate for _Isaac Norris_, of the family of the Quaker Chief Justice of Pennsylvania.

Boston New England]

The plate of _James Hall_, although not signed, is also attributed to him.

* * * * *

JOHN VALLANCE, whose name is connected with that of Thackara, engraved with him many plates for Dobson’s Encyclopædia. He made heads of Franklin and Howard, which were pronounced successful, and he had a high reputation as an engraver.

One authenticated example of his book-plate work is known, the _Joseph Wiseman_, in the Ribbon and Wreath style; and the _David Brearly_, although not signed, is attributed to him.

* * * * *

Of the other engravers whose names appear on but one or two plates, no information has been obtained. There were probably many who had but a local fame, and who made but a few plates. Their names are remembered now in a way not expected at the time of signing them, undoubtedly.

* * * * *

In a recent article on COUNT RUMFORD, in the “New England Magazine,” it is said that, when a youth, he designed book-plates. No authentic examples of his work are known, and no information can be obtained concerning any.

* * * * *

JACOB HURD, the father of Nathaniel, was a goldsmith of Boston, and his name is on pieces of plate in the First and Second churches in Boston, and the First Church, and Christ Church, in Dorchester. He very probably made book-plates, though no signed work is known. He died in 1758. He appears in the list of subscribers to “Prince’s Chronological History of New England,” as taking six copies.

In the “Boston Evening Post,” for March 4, 1745, the following advertisement appears:--

“FRANCIS GARDEN, Engraver from London, engraves in the newest
Manner and at the cheapest Rates, Coats-of-Arms, Crests or Cyphers
on Gold, Silver, Pewter or Copper. To be heard of at Mr.
Caverley’s, Distiller, at the South End of Boston. N.B. He will
wait on any Person in Town or Country, to do their Work at their
own House, if desired: also copper-plate printing perform’d by
him.”

No signed example of this gentleman’s work has thus far come to our knowledge. It is fair to presume, however, that he engraved book-plates.

A LIST OF EARLY AMERICAN BOOK-PLATES.

The following List of Early American Book-plates makes no claim to completeness: indeed it is earnestly hoped and believed that time will prove it to be quite incomplete: old plates new to collectors are continually coming to light, and there is every reason to expect their number to increase. We are persuaded that certain of the worthies of colonial times used book-plates, although no copies are now known, and that some future investigator will unearth these much-desired treasures.

Some plates will be found included which do not have a satisfactory description: this is due to their not being seen by the compiler of the List: correspondents at a distance cannot always send full details, and without them it is better to attempt little in the way of description. The aim has been to be accurate and as full as possible. There are hundreds of simple name-labels which have no place here, but all armorial examples which could be discovered are mentioned.

The plates are given in alphabetical order, and are numbered for convenience in reference. As far as possible, the first line of the description of each plate gives the exact wording of the original, with its spelling and abbreviations: the mottoes also, as well as the manner of signature, are given exactly as they appear on the original plate: wherever throughout this List _italics_ are used, they denote the exact language employed upon the plate.

1. ANONYMOUS.

Armorial. A very beautiful plate with French arms: a crown above and military trophies behind the shield: French banners, cannon, quivers of arrows, anchor, horns, swords, drum, tomahawks, bugle, lances, etc. Signed, _Maingot delt. Maverick_, _Sct._

2. ABERCROMBIE. _James Abercrombie._

Armorial. Ribbon and Wreath. Two mottoes, _Vive ut vivas_, and _Meus in arduis aequa_. Of Philadelphia, and mentioned in Boswell’s “Life of Dr. Johnson.”

3. ADAMS. _John Adams._

Armorial. The Boylston arms. The shield surrounded by a garter on which the motto is given,--_Libertatem amicitiam retenebis et fidem_. The whole design surrounded by thirteen stars. Second President of the United States.

4. ADAMS. _John Quincy Adams._

Simply the name rudely engraved and surrounded by a narrow line. Probably the first of the J. Q. A. book-plates. Sixth President of the United States.

5. ADAMS. _John Quincy Adams._

Armorial. Boylston arms. Ribbon and Wreath. Motto-ribbon empty.

6. ADAMS. _John Quincy Adams._

Armorial. The Boylston arms; the shield enclosed within a garter, on which the motto appears,--_Fidem--Libertatem--Amicitiam_.

7. ADAMS. _John Quincy Adams._

Armorial. The shield is quartered, and bears in the first quarter a curious specimen of home-made heraldry. The ancestors of the President bore no arms, and in their place appears a stag standing at gaze before a pine tree, while below in the water a fish, probably a cod, is swimming; the whole design surrounded with thirteen stars. This was his own invention. The other quarters bear the Smith, Quincy, and Boylston arms. The whole shield is surrounded by a garter bearing the motto _Fidem, Libertatem, Amicitiam retinebis_. From “Tacitus.”

8. AGAR. _Property, Lydia Agar. 1806._

Pictorial. An eagle bears a broad ribbon, on which the word _property_ is given; an oval frame encloses what resembles a row of eggs.

9. AGNEW. _James Agnew, Esq._

Armorial. Chippendale. Motto, _Consilio non impetu_. Attributed to Maverick.

10. AITKIN. _Robert Aitkin._

Simple name label: the printer of the “Aitkin Bible.” Philadelphia, 1782. The first American edition.

11. ALBANY. _Albany Society Library. 1759._

A peculiar plate something in the shape of the figure 8, with intertwining foliations above and at the sides. The upper part of the frame is the larger, and contains a spirited illustration of an Indian in ambush aiming an arrow at a leaping fox. On the frame surrounding this is the motto, _May concord prevail and the undertakeing prosper_. In the lower and smaller part is depicted a prim man, bewigged and ruffled, with an open book in his hand; presumably a patron of the Library. Very little can be learned concerning this early Library. It was probably interrupted by the Revolution. Some of its books are in the New York State Library.

12. ALLAN. _John Allan._

Pictorial. An open book, across the pages of which is printed the name of the owner. Behind all an anchor. This is the plate of the old book collector of New York City.

13. ALLEN. _John Allen._

Armorial. Jacobean. Motto, _Law & Right_. This is believed to be the plate used by John Allen, an early bookseller of Boston. He published the “News-Letter.” From the general design and the crude engraving, it must be taken for early American work: circa 1720. Illustrated in “Curio,” page 15.

14. ALLISON. _Joseph J. Allison._

Armorial. Chippendale. Hour-glass, books, globe, palette, and brushes, grouped above the escutcheon. Motto, _Hinc labor et virtus_. Of Philadelphia.

15. ALSOP. _Richard Alsop._

Armorial. Belongs to no particular style, although the ornamentation is of Chippendale tendency. Beneath the shield, at either side, stands a cupid holding out a bunch of arrows: the drawing of these figures is not above criticism: they seem to have one arm each, and but one wing also. A Connecticut poet. Born, 1761; died, 1815. One of the famous “Hartford Wits.”

16. AMBLER. Armorial. Of Virginia.

17. AMERICAN. _American Academy of Arts and Sciences. MDCCLXX._

A very handsome plate, having a large curtain looped back by ribbons and cords, whereon to record the name of the giver of books to the library, and above this an oval vignette representing Minerva with shield and spear in hand, and helmet on her head, standing upon the sea-shore (of Massachusetts), watching a three-master which sails far away under a glaring sun and a heavy cloud: through a corn-field and then through the woods lies the path to the distant village whose roofs can be seen: on the sand about the goddess lie scattered the scientific and agricultural implements, the uses of which it was the function of the Academy to teach. The Academy was instituted in 1779. Very good engraving but not so good drawing. The work is attributed to Callender.

18. ANDERSON. _Alexr. Anderson._

Armorial. Chippendale. Motto, _Vigila_. Signed, _A. Anderson, Sculp._ The original plate had only the last name engraved; the first name was added afterwards and evidently by a different hand. This plate is sometimes found with the name of his brother, John, written in before the family name, indicating perhaps that the plate was designed for the general use of the family. This is the plate of Dr. Anderson, the first engraver in wood in America.

19. ANDOVER. _Institutio Theologica Andover. Fundata MDCCCVII._

A severely plain pediment, raised upon Doric columns, bearing on the architrave the name. A blaze of glory above has in the centre the words, יהוה. Similar rays shine over the open Bible at the foot, on which is written, PS. CXIX, 169, and JOH. XVII, 17. On the base are the words, ΑΚΟΓΩΝΙ ΣΟΥ ΧΡΙΚΤΟΥ.

20. ANDREW. _John Andrew._

Pictorial. The implements of the engraver lie scattered upon the bench: the name is given in fac-simile of the autograph.

21. ANDREWS. Armorial. Of Virginia.

22. ANDREWS.---- _Andrews._ (First name obliterated.)

Pictorial. The scene is out of doors and the sun rises in full strength behind a long oval frame on which the name is engraved. A little patch of earth, two well-grown trees, and scant herbage complete the accessories. Signed, _Callender Sc._

23. ANDREWS. _Eliza Andrews._

Pictorial. Exactly the same as the succeeding, with the exception of the change in the name and the omission of the engraver’s signature.

24. ANDREWS. _Henry Andrews._

Pictorial: representing Minerva, crowned, with spear and shield: the owl sits upon a convenient pedestal. The name of the owner is put upon the edge of the shield which the goddess rests upon the ground. Signed, _S. Harris. Sc._

25. ANTILL. _Edwad. Antill. Esqr., A.M._

Armorial. Chippendale. Motto, _Probitas laudatur et alget_. A New Jersey author. Illustrated in “Art Amateur,” April, 1894.

26. APTHORP. _Apthorp._

Armorial. Chippendale. Motto-ribbon empty.

27. APTHORP. _East Apthorp, A.M. Cambridge MDCCLXI._

Armorial. Late Jacobean. Motto, _Nemo nisi Christus_. Eminent Episcopal divine, born in Boston, 1733; educated at Cambridge, and died, 1816.

28. APTHORP. _Jno. Apthorp._

Armorial. Chippendale. Motto, _Fari quae sentiat_. The same plate as the one mentioned above as having the motto-ribbon empty. In this example the name _Jno._ is written, and so is the motto.

29. APTHORP. _Thomas Apthorp._

Armorial. Chippendale. Motto, _Juste rem para_. Flowers, and a huge bee in the decoration. Printed in blue ink. Born, 1741. Died in England.

30. ARCHDEACON. _S. Archdeacon._

Armorial. Chippendale. Motto, _Esse quam videri_. Signed, _W. S._ A pretty design, with the caduceus of Mercury introduced in the ornamentation.

31. ARCHER. _William Archer._

Armorial. Of Chesterfield County, Virginia.

32. ARCHER. _William Archer, Powhatan._ A plain label with the name within a type border.

33. ARMISTEAD. _William Armistead._

Armorial. Of Virginia. Of Revolutionary fame.

34. ASHWELL. _Charles Ashwell of Grenada._ Plain armorial.

35. ASSHETON. _Ralph Assheton, M.D., Philadelphia._

Armorial. Chippendale. Motto, _In Domino confido_. Son of the Councillor; studied medicine in Edinburgh.

36. ASSHETON. _Willm. Assheton Esqr. of Barbadoes._

Armorial. Chippendale. Very ornate. No motto. Began the practice of law in Penna., and was afterwards described as “of the Parish of St. Michael’s in Barbadoes, gentleman.” He was Provost-Marshal of Barbadoes.

37. ASSHETON. _William Assheton Esq. of Gray’s Inn, Judge of the Court of Admiralty of Penn. 1718._ Arms, crest, and quarterings.

38. ATKINSON. _Theodore Atkinson._

Armorial. Chippendale. No motto. Signed, _N. Hurd. Scp._ This is the same design that was used in the Wentworth plate, but is much better in execution. The peculiar flow of water from the shell beneath the escutcheon is caught in a bowl: the only instance. Secretary of the colony of New Hampshire, 1741; Chief Justice, 1754; Major-General of militia, 1769; delegate to Congress at Albany, 1754.

39. ATKINSON. _William King Atkinson._

Armorial. Chippendale: a copy of the preceding design. Motto, _Nil facimus non sponte Dei._ Signed, _Callender Sc._ A noted lawyer of Portsmouth, N.H. (1764-1820). Changed his name from King to Atkinson out of respect to Judge Atkinson.

40. ATLEE. _Willm. Augs. Atlee Esqr. of Lancaster PENNSYLVANIA._

Armorial. Chippendale. Motto-ribbon empty; bears some marks of being unfinished. Judge of the Supreme Court of Pennsylvania, 1777-1791.

41. ATWOOD. _Harry Atwood._

Armorial. Chippendale. Very ornate; architectural and landscape effects used. No motto.

42. AUCHMUTY. _Richard Tylden Auchmuty._ Plain armorial. Motto, _Dum spiro spero_. Signed, _A & S_.

43. BACKHOUSE. _W. Backhouse, M.A._

Armorial. Chippendale. Motto, _Pax et amor_.

44. BACKUS. _Elijah Backus._

Armorial. Jacobean. No motto; name on motto-ribbon. Very crude workmanship.

45. BALDWIN. _D. Baldwin, Owner._ An Engraved Label, the Words Being Within an Oval Wreath.

46. BALDWIN. _Jonathan Baldwin._

Armorial. Signed by Callender.

47. BALDWIN. _Luke Baldwin._

Armorial. Signed by Callender.

48. BALL. _Flamen Ball._

Armorial. Ribbon and Wreath. Motto, _Semper caveto_. Signed, _P. R. Maverick. Sct._

49. BALLORD. _Wm. Ballord’s._

Armorial. Plain. No Motto.

50. BALTIMORE. _The Library Company of Baltimore._Simply the Name

Engraved Within an Oval Frame. Signed, _S. Allardice Phi_.

51. BANCKER. _Abraham Bancker._

Pictorial. An eagle bears aloft an oval frame which contains the large figure 4 always seen on the book-plates of this family. A ribbon flying from the beak of the eagle bears the motto, _Sublimiora petamus_; beneath, a three-masted vessel, with homing pennant streaming, passes half-submerged trees and a chain of mountain peaks. Signed, _Maverick Sculp’_.

52. BANCKER. _Charles N. Bancker._

Armorial in style, but showing no actual arms. The shield is occupied by a large figure 4, which is an old “merchant mark.” Chippendale. Puffy cupids are seated on either side of the frame with accessories which indicate the pursuit of science. Motto, _Dieu Defend le Droit_. Signed, _Jones Sc._ Of Philadelphia.

53. BANCKER. _Charles N. Bancker._

A Chippendale frame enclosing the figure 4, and showing the same motto as the above. Helmet, wreath and crest, the eagle’s wings erect, ppr. Not signed.

54. BANCKER. _Evert Bancker, Junr._

A smaller and older plate than the others of this name, and showing the same figure 4, with rather wild mantling, and crest.

55. BANCKER. _Gerard Bancker._

Chippendale. A cupid holding a globe converses with a companion, perhaps about commerce and ocean currents; behind them a pyramid rises, and two other cupids are consulting a plan. The figure 4 is again prominent in this plate. Signed, _Dawkins Sculpsit_.

56. BANCROFT. _George Bancroft._

Pictorial. A chubby cherub approaches, with a panel in his hands on which the words ΕΙΣ ΦΑΟΣ are given. Another plate, identical in all other details, gives the motto, _Sursum corda_. Historian of the United States.

57. BANISTER. _John Banister._

Plain armorial. (arms of Banester of Easington, County York, according to Burke). No motto. Of Virginia. Revolutionary soldier. Died, 1787.

58. BARRELL. _Joseph Barrell._

An allegorical plate full of detail. In the centre is the shield with the arms, while above the crest sits Hope with her anchor. As indicative of Industry, a very trim female figure is presented, surrounded by signs of prosperity, such as the beehive, palette and brush, and square and dividers. In contrast to this a bare-footed, raggedly clad woman with a dead fish in her lap, snails on her shoulders, broken tools around her, and with every appearance of misery and squalor, is shown at the left. The contrast between Thrift and Indolence is continued in a second series of pictures below the shield. In these it is the begging tramp and the erect, well-clothed gentleman who depict the moral. Dilapidated shanties and well-built houses are also in contrast. Mottoes, _Not always so--Indure but hope_. A rich Boston merchant. A pioneer in the Northwest coast trade.

59. BARROLL. _William Barroll. Chestertown. 1795._

An engraved name label, with the all-seeing eye above the oval frame which encloses the name. The palm and holly are crossed beneath.

60. BARTON. _William Barton._

Armorial. Perhaps the plate of the capturer of Genl. Prescott (1777) in Narragansett Bay.

61. BARTRAM. _John Bartram._

Armorial. Chippendale. Motto, _Foy En Dieu_. A second motto, _J’avance_. Celebrated Botanist of Pennsylvania.

62. BATHURST. Armorial. Of Virginia. See Burke’s “extinct Baronetage.”

63. BAY. _William Bay. M.D._

Armorial. Ribbon and Wreath, Motto, _Quo Fata Vocant_. The heraldic drawing is poor and the charges are reversed. Born, Albany, 1773. Died, 1865.

64. BAYARD. _James A. Bayard._

The name well engraved within an oval wreath. The Delaware statesman, leader of the Federal party, and one of the negotiators of the Treaty of Ghent. Born, 1767; Died, 1815.

65. BAYARD. _Saml. Bayard._

Armorial. Chippendale. No motto. This is a very interesting specimen of the debased Chippendale. As decorative features the following are used: a large globe, quadrant, compass, sun-dial, beer-stein, and a little landscape. The branches of the frame are made to support these objects named. Jurist. Published books on law.

66. BAYLEY. Armorial. of the Eastern Shore, Va.

67. BEATTY. _J. Beatty. M.D._

Armorial. Pictorial. The shield rests against the bole of an oak, and while the arms on it (Arg. a beehive surrounded by bees) are not given in Burke, the crest appears in Fairbairn, with some changes. A globe, open book, scroll, caduceus, and cornucopia of fruit complete the accessories. Not a common type among American plates. John Beatty was born in Pennsylvania, 1749, and died in New Jersey in 1826. Rose to the rank of Colonel In the Revolutionary War, and was delegate to Congress, 1783-1785. Member of Federal Convention, and member of Congress. Illustrated in “curio,” page 114.

68. BECK. _Charles Beck._

Armorial. Ribbon and Wreath. Signed, N. D. Sc. (nathaniel Dearborn). Of Cambridge, Mass. Scholar and Author.

69. BEDLOW. _William Bedlow._

Armorial. Monogram B L at foot of arms. Jacobean. Motto, _My hope on high_. Of Bedlow’s Island, New York.

70. BEETE. _Joseph Beete. Demerary._ Plain Armorial. Motto, _Fortuna perit, honestas manet_.

71. BELCHER. (Anonymous.)

Armorial. Jacobean. Motto, _Loyal jusqu’à la Mort_. This is the plate of the Colonial Governor of Massachusetts and New Hampshire, 1730-1741 (Jonathan Belcher). The arms are the same as borne on the plate of his son Jonathan, except that this plate shows a label for difference. There is also a shortening of the motto in the other plate.

72. BELCHER. _Jonathan Belcher E Societate Medij Templi._

Armorial. Jacobean. Very similar to the last. Motto, _Loyal au mort_. Son of the preceding; born in Boston, 1710. Graduate of Harvard, student at the Middle Temple, one of the first settlers of Halifax, N.S. Died there, 1776. Illustrated in “Curio,” page 113.

Savannah.]

73. BELCHER. _William Belcher, Owner._ Literary. A shelf of books enclosed within an oval which bears the mottoes, _With welcome use--but use with care. The wicked borrow,--but never return_. Of New London, Conn., circa 1790.

74. BELCHER. _William Belcher. Savannah._